Shogun_ A Novel of Japan - James Clavell [389]
All was ready. The first perfection of the cha-no-yu was cleanliness, the second, complete simplicity. The last and greatest, suitability to the particular guest or guests.
He heard her footsteps on the flagstones, the sound of her dipping her hands ritually in the cistern of fresh river water and drying them. Three soft steps up to the veranda. Two more to the curtained doorway. Even she had to bend to come through the tiny door that was made deliberately small to humble everyone. At a cha-no-yu all were equal, host and guest, the most high daimyo and merest samurai. Even a peasant if he was invited.
First she studied her husband’s flower arrangement. He had chosen the blossom of a single white wild rose and put a single pearl of water on the green leaf, and set it on red stones. Autumn is coming, he was suggesting with the flower, talking through the flower, do not weep for the time of fall, the time of dying when the earth begins to sleep; enjoy the time of beginning again and experience the glorious cool of the autumn air on this summer evening … soon the tear will vanish and the rose, only the stones will remain—soon you and I will vanish and only the stones will remain.
He watched her, apart from himself, now deep in the near trance that a cha-master sometimes was fortunate enough to experience, completely in harmony with his surroundings. She bowed to the flower in homage and came and knelt opposite him. Her kimono was dark brown, a thread of burnt gold at the seams enhancing the white column of her throat and face; her obi the darkest of greens that matched the underkimono; her hair simple and upswept and unadorned.
“You are welcome,” he said with a bow, beginning the ritual.
“It is my honor,” she replied, accepting her role.
He served the tiny repast on a blemishless lacquered tray, the chopsticks placed just so, the slivers of fish on rice that he had prepared a part of the pattern, and to complete the effect, a few wild flowers that he had found near the river bank scattered in perfect disarray. When she had finished eating and he, in his turn, had finished eating, he lifted the tray, every movement formalized—to be observed and judged and recorded—and took it through the low doorway into the kitchen.
Then alone, at rest, Mariko watched the fire critically, the coals a glowing mountain on a sea of stark white sand below the tripod, her ears listening to the hissing sound of the fire melding with the sighing of the barely simmering kettle above, and, from the unseen kitchen, the sibilance of cloth on porcelain and water cleaning the already clean. In time her eyes wandered to the raw twisted rafters and to the bamboos and the reeds that formed the thatch. The shadows cast by the few lamps he had placed seemingly at random made the small large and the insignificant rare, and the whole a perfect harmony. After she had seen everything and measured her soul against it, she went again into the garden, to the shallow basin that, over eons, nature had formed in the rock. Once more she purified her hands and mouth with the cool, fresh water, drying them on a new towel.
When she had settled back into her place he said, “Perhaps now you would take cha?”
“It would be my honor. But please do not put yourself to so much trouble on my account.”
“It is my honor. You are my guest.”
So he had served her. And now there was the ending.
In the silence, Mariko did not move for a moment, but stayed in her tranquillity, not wishing yet to acknowledge the ending or disturb the peace surrounding her. But she felt the growing strength of his eyes. The cha-no-yu was ended. Now life must begin again.
“You did